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Epcot 

Center 

Opens! 


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9 y 




You deserve 
National attention. 




We feature 
GM cars like this 
Pontiac Bonneville. 


Plus a special discount. 


As a Magic Kingdom Club member, you deserve 
certain things when you travel. 

You deserve the most for your money. That’s 
why we’ll give you a 10% discount off our 
unlimited-free-mileage rates at participating 
National Car Rental locations throughout the U.S. 
That even includes weekend or holiday specials 
and weekly Vacation Saver rates! 

You’ll also receive special discounts in 100 
other countries and territories around the world. 
Just show your Magic Kingdom Club card at the 
time of rental. 

You deserve convenient locations right at most 
major airports, including Orlando, Los Angeles 
and Orange County. We’re also the only car rental 
company with locations right at Disneyland and 
Walt Disney World. 


And you deserve even more. You deserve 
service that’s not only fast, but friendly. You 
deserve a personal welcome. A lot of respect. 

And extra help whenever you need it. 

There is a difference between car rental 
companies. It’s called National attention. And it’s 
one reason we’re the official car rental company of 
Disneyland and Walt Disney World . For reservations 
see your travel consultant or call toll-free 
800-328-4567. In Minnesota call 800-862-6064. 

In Alaska and Hawaii call 800-328-6321 . In 
Canada call collect 612-830-2345. 


' National Car Rental 

europcar 


In Europe. Africa and the Middle East it's Europcar. In Canada it's Tilden. 


The Official Car Rental Company 
Of Disneyland’ and Walt Disney World; 





Vol. 17, No. 4 

September, October, November 1982 


Editor— Stephen Bimbaum 
Executive Editor— Janet Bennett 
Design Director— Paul Posnick 
Art Director— Phyllis Busell 
Managing Editor— Sandra L. Miller 
Contributing Editor— Karen Cure 
Editorial Assistants— George 
Simonson, Anne Coppinger 
Subscriptions — Bettie Woody 

CHANGE OF ADDRESS 
The Post Office will not forward copies, and 
we cannot send duplicates of copies that go 
astray. So please give us at least four weeks’ 
notice when changing your address. Prefer- 
ably send address label from back issue, but 
always include both old and new addresses 
and zip codes, to DISNEY NEWS, P.O. Box 
3310, Anaheim, California 92803. 

SUBSCRIPTION PRICE 
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(eight issues). Outside the United States: 
$4.00 for one year (four issues). American 
Express, VISA, and MasterCard accepted. 

DISNEY NEWS is published 
four times yearly by Walt Disney’s 
Magic Kingdom Club, a division 
of Buena Vista Distribution Co., 
Inc., all rights reserved. Reprint 
of material only upon written 
approval of the copyright owner, 
P.O. Box 4489, Anaheim, Cali- 
fornia 92803. 

SUBSCRIPTION SERVICE 
For further information concern- 
ing DISNEY NEWS subscriptions 
and renewals, please call (714) 
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not include a Magic Kingdom 
Club membership card. Contact 
your company’s Personnel or 
Recreation office to obtain a card. 


DISNEY NEWS 

Official Magazine For Magic Kingdom Club Families 


DISNEY DOINGS 

Ticket media update, the best New Year’s Eve parties, Mickey’s birthday, 
Tokyo preview, and more! 

. Page 2 

INTRODUCING EPCOT CENTER by Stephen Birnbaum 

Walt Disney World’s latest and perhaps greatest adventure 

. . Page 4 

ROAD FOOD by Ann Pleshette 

Child-pleasing snacks to go— minus the mess 

. Page 13 

FOCUS ON FANTASYLAND by Karen Cure 

Fancy effects and bright new looks will make magic in Disneyland 
to help celebrate the sixtieth anniversary of Disney animation 

. Page 14 

BEHIND THE SCENES by Margery Stein 

From the Carolwood Pacific to the Toros de Fuego, Walt Disney’s 
romance with the rails 

. Page 18 

QUITE A CHARACTER by Gene Shalit 

Exclusive! America’s favorite mouse tells all to America’s favorite 
interviewer 

. Page 21 

FILM ROUND-UP 

A sneak preview of holiday releases from Disney Studios, including Mickey’s 
long-awaited return to the silver screen in “Mickey’s Christmas Carol.” .... Page 22 

VACATION PACKAGES, TRAVEL BENEFITS, AND SPECIAL 
VALUES 

. Page 24 

DISNEY ON CABLE 

The “family” channel is coming! 

. Page 28 

CLICK! by Catherine Ettlinger 

A how-to and where-to guide to the most picture-perfect places in 

the parks 

. Page 30 

REEL TRIVIA by Lori Philipson 

At last, a chance to test your film I.Q. — Disney-wise 

. Page 32 


Dates and times of special entertainment and other activities, offers, and prices, subject to 
change without notice. 

©1982 Walt Disney Productions 



OLE! 


Mickey Mouse will be celebrating 
another birthday on November 18, 
and there’s no doubt something 
super special will be happening in 
Disneyland to commemorate the 
occasion. (Actually, the festivities 
are scheduled for the weekend of 
the 21st and 22nd, so that every- 
one can get in on the act— but the 
particulars of the birthday party 
are supposed to be kept under 
wraps, so keep your ears open for 
details.) 

Next to that event, Disneyland’s 
big fall fling is “Festival Mexico,” a 
whirl of singing and dancing and 
bright-colored costumes in the best 
south-of-the-border style. Mexican 
entrees will be dished up at selected 
restaurants, red-and-green-and- 
white Mexican decorations go up 
along Main Street and in front of 
the castle, exhibits of Mexican 
crafts (papier mache dolls and 
clowns, baskets, and the like) are 
set up in Alpine Gardens and on the 
plaza in front of It’s a Small World, 
and anyone who just happens to 
show up on that day will find pro- 
fessional performers serenading 
and strumming the time away. This 
year’s dates: October 23 and 24. 


A 

THOUSAND 

MICKEYS 

With its mirrored facades, its 
fountains, tapestries, and plant- 
filled atriums, and its pretty marina 
and lagoon, the new Buena Vista 
Palace Hotel (which will open in 
April, 1983, in the Walt Disney 
World Village Hotel Plaza) promises 
to be a real showplace. But any 
youngster will tell you without the 
slightest hesitation about the best 
touch of all: push-button Mickey 
Mouse telephones in all the rooms. 

A total of 1,000 were ordered — 
that’s one for each double-bedded 
room, and two for those equipped 
with king-size mattresses. 

One goes on each side of 
the big bed. 


TICKET UPDATE 

In the past, visitors to Disneyland in Anaheim have used tickets 
from a ticket booklet to gain access to its many rides and 
attractions. But this year, a pay-one-price, unlimited-use ticket 
known as a Passport has been formally adopted as the park’s 
sole ticket medium, and the old system of A-through-E ride 
coupons has been discontinued. Ticket booths no longer sell 
general admission tickets or single-ride coupons, and individual 
locations inside the park no longer accept them. For frequent 
Disneyland visitors with leftover ride coupons, a redemption system 
has been set up. So inquire at the main gate for up-to-date information'' 
about the value of any coupons still in your possession. 

In Walt Disney World’s Magic Kingdom in Florida, where an all-Passport 
system has been in effect for some time, guests will be using new tickets that 
look like credit cards and they include a magnetic strip that ticket sellers can 
electronically encode with appropriate information. When entering the Magic 
Kingdom, guests will insert these cards into new electronic turnstiles, similar to 
those in use in the Paris and Hong Kong subway systems. In turn, these will 
process the information on the card, make appropriate alterations on the mag- 
netic strip, and cue the turnstile to allow guests to pass through. One-day 
tickets that allow unlimited use of attractions in the Magic Kingdom are still 
available, but ticket booths also will be selling one-day tickets to Epcot Center, 
as well as three-day and four-day World Passports, which allow entry to both 
Epcot Center and the Magic Kingdom, access to all of their attractions, and 
unlimited use of the Walt Disney World transportation system. In another major 
innovation, guests won’t have to pay by cash or check only: World Passports 
may now be purchased by using American Express or MasterCard. 





DOINGS 


TOKYO PREVIEW 

In the beginning there was Disneyland, then Walt Disney World. And in the 
spring of 1983, travelers will be hearing about yet another Magic Kingdom— 
this one just outside Tokyo, Japan. Longtime Disneyland watchers will note 
some important differences between this new Tokyo Disneyland and its prede- 
cessors. Instead of seven lands (as in Disneyland) or six (as at Walt Disney 
World’s Magic Kingdom), Tokyo Disneyland will have just five lands— World 
Bazaar (a sort of Main Street), Adventureland, Fantasyland, Tomorrowland, 
and Westemland. The avenue down the center of World Bazaar will be completely 
glass covered, and although the architecture will be tum-of-the-century Ameri- 
can, the shops’ merchandise will come from all around the globe. Also, Center 
Street — which bisects the avenue at its midpoint — cuts through into 
Adventureland on one side, and into Tomorrowland on the other. The steam 
train, which circumnavigates the whole of both U.S. parks, will take visitors 
around just half of Tokyo Disneyland, and the Main Street vehicles won't be 
found on Main Street at all, but instead will ride on Central Plaza and two 
narrow boulevards leading away from it. Two new only-in-Tokyo attractions 
will also make their debuts— Japan 200, a travel film on an immense scale, and a 
show called Meet The World, which describes the blossoming of Japan’s 
relationship with the West. 

Yet despite the differences, the new park will bear an uncanny resemblance 
to Disneyland and WDW’s Magic Kingdom. A Penny Arcade, an Enchanted 
Tiki Room, a Shootin’ Gallery, a Tom Sawyer Island, a Haunted Mansion, and 
Snow White’s Adventures will all be part of the fun. Visitors will not find a Big 
Thunder Mountain Railroad at first— but they will be able to enjoy a Peter Pan 
Flight, Dumbo’s Flying Elephants, and a Cinderella Castle practically 
identical to those at Walt Disney World. Mickey Mouse will once again emcee 
the Mickey Mouse Revue— just as he once did in the Florida park. In 
addition, Tokyo Disneyland will have Space Mountain, Pirates of the Caribbean 
(with its Blue Bayou Restaurant), Primeval World, and a gold-and-white It’s a 
Small World, not to mention an Adventures of Pinocchio attraction (such as 
the one to be introduced in California as part of the Fantasyland renovation). 
Good old American fast-food mainstays, hot dogs and hamburgers, also will be 
widely available. 


ATJLD LANG SYNE 
AND ALL THAT 

No list of America’s ten best New Year’s Eve parties would be complete 
without a major mention of Disneyland’s December 31 bash. The park closes 
down in the early evening, then reopens later for a long night of some of 
the liveliest partying west of the Contemporary Resort. Disneylanders hand 
out hats and noisemakers at the main gate, top-name talent is on hand to 
entertain, and first-class fireworks explode spectacularly at midnight above 
Sleeping Beauty Castle— all for the benefit of a mere 25,000 merrymakers. 
Those who want to get in on the fun on December 31, 1982, should plan now: 
Tickets go on sale the day after Thanksgiving and are usually gone by the third 
week in December. To order, send $16 per ticket (there’s no handling charge) to 
the Disneyland Admissions Office; 1313 Harbor Blvd.; Anaheim, CA 92803. 

In WDW’s Magic Kingdom, there are hats and noisemakers, as at Disney- 
land— but here, an open admissions system prevails, and record crowds gather 
for the mammoth display of fireworks exploding at midnight, not only over 
Cinderella Castle but also above the train station. In addition there are a number 
of celebrations being held at the various Walt Disney World resorts. But when 
the fireworks commence, all action stops and merrymakers make a musical 
chorus of oohs and aahs. 


DISNEY NEWS FALL 1982 3 



Introducing 

Epcot Center 


Mexico 


China 


CommuniCore West 


Spaceship Earth 


The World 
of Tomorrow 
Arrives 


By Stephen Birnbaum 

The most obvious question is “What 
is an Epcot?” Well, in October 1966, Walt 
Disney described his idea of what Epcot 
Center might be: 

“Epcot will be an experimental 
prototype community of tomorrow 
that will take its cue from the new 
ideas and new technologies that 
are now emerging from the cre- 
ative centers of American Indus- 
try. It will be a community of 
tomorrow that will never be 
completed, but will always be 
introducing and testing and dem- 
onstrating new materials and 
systems. And Epcot will be a 
showcase to the world for the 
ingenuity and imagination of 
American free enterprise.” 

Walt Disney’s dream has become 
reality. It’s impossible to say whether 
the Epcot Center that opens on October 
1, 1982, is consistent in every detail with 
what Walt himself might have wrought, 
but there’s no doubt whatsoever that it 
embodies the spirit that its originator 
intended. 

Epcot Center represents a unique 
combination of innovative imagination 
and technical virtuosity. Disney’s 
“Imagineers” have created a new 
dimension of pleasure, excitement, 
amusement, and education. From 
Opening Day onward, Epcot Center will 
be the standard by which all such 
undertakings will be measured, and 
future phases will further expand even 
the current level of appeal. Until now, 
there’s never been anything remotely 
like Epcot Center; and it’s unlikely there 
ever will be again. 


Universe of Energy 


World of Motion 


4 DISNEY NEWS FALL 1982 



The American Adventure 



Journey Into Imagination 


DISNEY NEWS FALL 1982 




Future World 



Spaceship Earth 


The entrance to Epcot Center is a 
walk into the future; in this case through 
the world’s largest geosphere, weighing 
about a million pounds and soaring 18 
stories into the sky. The dramatic globe 
offers much more than just a “door” to 
Future World. 

The theme of Spaceship Earth is the 
evolution of communication. Guests 
board a “time machine” for a journey 
that is actually a tour through 40,000 
years of recorded time. 

The early portions of the presentation 
show early man trying to convey ideas 
to his fellow humans, eventually leading 
to “writing on the wall.” From cave dwell- 
ings through the time of Egypt’s pha- 
raohs to Phoenician traders and Greek 
philosophers, man’s progress in trans- 
mitting ideas is dramatically conveyed. 

But Spaceship Earth hardly dwells in 
the past alone, for as visitors ascend into 
the dome they reach a vast planetarium. 
Here the heavens are reproduced as 
they’ve never been seen before, 
and from this unique vantage 
point in space it’s possible to 
look back at our earth- 
ly world— tiny and 
fragile, but very 
much alive 
and vital. 


Universe Of Energy 

A 220° film surrounds its audience, immersing 
it in a space shuttle blast-off. The pavilion is 
the size of three football fields, and visitors are 
transported on a unique “traveling theater” through 
a primeval swamp populated by dinosaurs and other 
creatures from prehistory. The attraction transports 
guests past earthquakes, volcanic eruptions, and fierce 
energy storms— the cataclysmic events that first folded 
fossil fuels deep into the earth eons ago. The pavilion 
actually gets some of its own energy from the sun, as 
photovoltaic cells help run many of the pavilion’s mechani- 
cal elements. 


The Land 



The largest of Epcot Center’s pavilions, 
occupying six full acres, this building 
looks like nothing so much as a giant 
greenhouse. A boat ride focuses visitor 
attention on cultivation and potential 
new ways to grow food in desert and 
tropical climates. Lettuce is grown float- 
ing over water, as melons thrive overhead 
while shielding the lettuce leaves from 
the direct rays of the sun. At the same 
time, shrimp are raised at a survival rate 
that is 200 times that experienced in 
nature. More lighthearted is a show 
called the Kitchen Kabaret, whose star 
is a new Disney creation called Bonnie 
Appetit. This humorous rendering of a 
nightclub extravaganza provides another 
stage for a host of new Disney charac- 
ters, while presenting a lesson in nutri- 
tion that is both entertaining and 
educational. 


World of Motion 

Astounding in terms of sheer population alone, this show is inhabited by more than 100 
“Audio-Anim'atronics” people— plus 73 animals, 33 animated props, 16 automobiles, and 
assorted trains, planes, bicycles, balloons, rickshaws, and river boats, which operate on 23 full- 
scale sets. The pavilion’s intent is to present the story of transportation, and progress through 
the pavilion parallels man’s own progress in getting off his own two feet. From the invention of the 
wheel, through the world’s first traffic jam, and on to a grand finale in the Speed Tunnel, the trip 
is merely mesmerizing. State-of-the-art optics and special effects create a city of the future, and the most 
realistic car of the future is also visible here, in Transcenter. Remarkable changing exhibits in this area 
will initially offer a demonstration of magnetic levitation through a train without wheels. 


DISNEY NEWS FALL 1982 7 


CommuniCore 


World 




Journey Into 
Imagination 

Housed in two great truncated crystal 
pyramids, this may be the most extra- 
vagantly innovative of all the Future 
World pavilions. The host is a new 
Disney character named Dreamfinder, 
who represents the spirit of imagination. 
He is accompanied by another new 
Disney creation, a purple dragon called 
Figment, who’s created right in front 
of visitors’ eyes from the materials of 
imagination, and who embodies childlike 
curiosity and spontaneity. Passage 
through the pavilion begins with 
an exploration of the many facets 
of imagination and creativity and 
includes many “hands on” opportu- 
nities to create electronic master- 
pieces. But by far the most com- 
pelling element is a film called 
Magic Journeys, one of the 
largest 3-dimensional films 
ever produced. It’s a blend 
of real and surreal, making 
extraordinary use of com- 
puter animation. 


Hugging the shores of the manmade lagoon that 
connects it to Future World, World Showcase is 
an amalgam of permanent international pavilions 
that forms a sort of permanent World’s Fair. 
Pavilions from eight countries— Mexico, China, Italy, 
Japan, France, Germany, Canada, and the United 
Kingdom — surround the host pavilion, The American 
Adventure. This marks the first time that pavilions in any 
multi-national exposition have been created by a single 
creative source, so that every element of World Showcase 
is complementary and harmonious. Each participating 
nation offers a broad spectrum of food, entertainment, and 
merchandise, all representative of its unique national 
heritage, and every item available for sale will have been 
made in the host country. The Disney entertainment 
forces have created all the pavilion shows and further 
accented the international ambience by highlighting indi- 
vidual national festivals all through the year. It will indeed 
be an ongoing international spectacular. 


Here’s where technology meets people 
—and people meet technology. This irre- 
sistible group of interactive exhibits 
takes the mystery out of technology, not 
only welcoming guest participation, but 
soliciting it. Who can resist talking to a 
computer— and having it reply. Each 
visitor can also contribute his or her own 
opinions on current issues and have 
them included in a massive on-going 
poll. It’s even possible to check your next 
vacation travel destination. This is both 
the here-and-now and the just-around- 
the-corner of computer capability, 
incorporating the technology that’s likely 
to enrich our lives in the years just 
ahead. 




8 DISNEY NEWS FALL 1982 


Showcase 



The American 
Adventure 

Not merely the host of World Showcase, The 
American Adventure is also the linchpin 
around which all the surrounding international 
pavilions turn. Its unique vision of America 
is most notable for its technological achieve- 
ment, as Audio- Animatronics figures— those 
wonderfully lifelike Disney creations that pro- 
ject remarkably human movements and 
attitudes— have now been refined to a degree 
where “Ben Franklin” and “Mark Twain” will 
not only narrate the story of this nation’s prog- 
ress through the last two exciting centuries, 
but, in Ben Franklin’s case, will actually walk 
up a flight of stairs. But technology aside, this 
is the extraordinary story of America, told 
complete with blemishes, which nonetheless 
recalls and reinforces the optimism and 
energy that have made our nation unique. It is 
at once entertaining, informative, and 
inspiring. 


Germany 

It’s probably inevitable that the most popular part of the Germany 
pavilion will be its authentic Biergarten. The best German beers 
will be served here, accompanied by such traditional Teutonic tidbits 
as sauerbraten, potato dumplings, hot pretzels, sauerkraut, smoked 
pork, and the best of the world’s wursts. Eating this earthy fare (to 
the accompaniment of an “Oompah” band) will make leaving very 
difficult, but seeing the surrounding picturesque village is well 
worth the effort. It incorporates architecture from the 13th through 
the 17th centuries, and among its many shops is a singularly seductive 
toy store called Der Teddybar. The sense of authenticity is total, 
completely conveying the feeling of a hamlet in the middle of Bavaria 
or beside the Rhine. No matter what its precise geography, the 
German experience is complete. 



Japan 



Although all the World Showcase 
pavilions are set around the huge 
manmade lagoon, the Japan pavilion 
includes a replica of the ancient 
Itsukushima shrine on an island in what 
seems to be the Inland Sea. A traditional 
entrance gate of honor is flanked by a 
five-story pagoda, whose ascending 
levels represent the elements from 
which Buddha believed all things in the 
universe were created: earth, wind, 
water, fire, and sky. As guests walk 
around the formal square, they’re 
delighted by the Japanese garden that 
provides an oasis of serenity. A teahouse 
looks down on this peaceful scene, and 
across towards the castle that evokes 
Japan’s feudal period. 


DISNEY NEWS FALL 1982 




United Kingdom 

Even if you’ve never been to Britain, you’ll 
instantly recognize the United Kingdom pavilion 
as the essence of the Empire, for as one British 
wit said over a century ago, “What two ideas are 
more inseparable than beer and Britannia?” The 
Disney Imagineers have taken this idea quite 
literally, and the U.K. pavilion begins and ends 
with a pub. In Britain, a “local” is a combination 



of clubroom and town hall, where good conversa- 
tion, comradeship, and a generous portion of pub 
grub are made just a tad more tasty by the addi- 
tion of a pint of bitter or a large lager. 

Roaming the grounds of the British pavilion 
puts one in the path of equal parts of Dickensian 
charm and the panoply of British history. From 
High Street to Tudor Lane, each building also 
contains striking samples of well-known British 
merchandise— from simple biscuits to luxurious 
Royal Doulton china— and these wares become 
increasingly sophisticated (and expensive) as you 
proceed through the pavilion. Everything is here, 
from Ann Hathaway’s Cottage in Stratford-upon- 
Avon to touches of Belgrave and Bedford Square. 
But all paths lead to “Britannia Square,” the kind 
of green oasis that is always such a pleasant 
surprise on a walk through London. One side of 
Britannia Square is framed by a group of two- 
story, late Georgian row houses. So whether it’s a 
cashmere sweater or a coat of arms or beautifully 
crafted British toys that you most covet, or if you 
prefer just a leisurely stroll through a pastoral 
British scene, this is the perfect place to enjoy an 
atmosphere that’s unmistakably English. 



China 


Creating the film that’s the prime element of the China pavilion 
was both a logistical and technological challenge of colossal propor- 
tions. Though the Chinese government officially supports its pavilion, 
it still would not permit the Disney film crews to shoot their own 
aerial footage. Instead, Chinese cameramen flew each “mission,” 
first recording what the Disney director wanted on videotape. If this 
initial tape footage was acceptable, the director would authorize 
retaking the shot on film. Though a tedious and time-consuming 
process, the result was well worth the effort, for it provides a view 
of the People’s Republic of China (and its people) that’s never been 
seen before by any American— certainly not on a 360° CircleVision 
screen. 

Canada 

The pavilion that represents our closest northern neighbor comes 
complete with a 30-foot waterfall, a hotel patterned after Ottawa's 
Chateau Laurier, and a 360° CircleVision film that captures the 
look and feel of Canada as it’s never been seen before. Be especially 
careful during the segment showing the chuck-wagon race at the 
Calgary Stampede: the sensation that you’re about to be run over 
is nearly overpowering. Victoria Gardens provides a replica of 
Canada’s most spectacular floral extravaganza, and there’s also a 
Canadian restaurant serving everything from maple-syrup pastries 
to beef-and-pork pie. Visitors will surely leave humming “Oh, 
Canada!’ 


A \ 



10 DISNEY NEWS FALL 1982 



France 

Walt Disney World’s reputation as a great place to dine is sure to get a big 
boost from the fine French restaurant here that’s under the personal direction 
of a trio of 3-star French chefs— Paul Bocuse, Gaston LeNotre, and Roger 
Verge. The menu features fresh foods from Florida, and one of these famous 
cuisineurs will be in attendance at all times. Their bastion of haute cuisine 
will be supplemented by a less formal cafe, and a broad-screen film featuring 
the classic music of French composers also will play an important part in 
transmitting the elan of France. 




Mexico 

Unique among World Showcase participants, the 
Mexican pavilion is entirely enclosed except for an 
outdoor cafe and the pyramid that is its dominant 
architectural element. This allows the Disney 
designers to create a sort of perpetual twilight, the 
most dramatic possible light under which to view 
the spectacular artifacts and archaeological 
reproductions. There’s even a Mexican village inside 
the pavilion walls, not unlike the old settlement of 
Taxco, with its population of craftsmen and strolling 
mariachis. A “time tunnel” ride-through attraction, 
El Rio del Tiempo, permits visitors to pass from the 
Mexican past into the present, where a broad 
spectrum of native dances provides a unique per- 
spective on Mexico’s heritage. 


Italy 

The centerpiece here, as in most Italian villages, is a piazza. 
This one is modeled after fabled San Marco in Venice, and a 
canal cut from the World Showcase Lagoon heightens the 
Venetian ambience. Quite extraordinary replicas of the Doge’s 
Palace and the 1,000-year-old Campanile are the most nota- 
ble architectural landmarks. After a leisurely tour of the 
piazza— authentic save for the absence of pigeons— it’s pos- 
sible to sip espresso in L' Originate Alfredo di Roma Ristorante, 
or to shop in a Northern Italian market square. Trompe I’oeil 
wall paintings fool the observer’s eye into seeing court 
musicians or a Florentine landscape, and there’s a sense of 
being totally a part of an ever-changing Italian street scene— 
just the way the creators dreamed. 

\ 



CONSIDERTHIS 
SMALL MIRACLE. 



SOMEONE PLANTS 
a seed, knowing the time is 
right. The rest must be left to 
good fortune and the ele- 
ments. Many 
years later, with 
care and knowl- 
edge, there will 
be a season of 
harvest. The mir- 
acle of growth has 
been occurring for 
millions of years, 
but it still remains a miracle. 

This simple process has 
linked man to the earth since 



the beginning of their time 
together. And it is also a 
process we have been inti- 
mately involved with for over 
eighty years. 

Our un- 
derstanding of 
growth has made 
our name the 
standard of qual- 
ity in millions of 
homes through- 
out the world. It 
is our goal to continue to 
understand the food needs of 
our age, and respond to them. 



The Standard of Quality 



TB A carful of creative snacks 

JWWttiA for traveling with kids 


Eood 


By Ann Pleshette 

Present the average parent with a 
choice between three hours in a car 
with a hungry child and three hours 
undergoing the Chinese water tor- 
ture, and you can bet that the water 
torture will win. That’s because 
there’s nothing quite as irritating as 
the questions whined ten minutes 
after the seat belts click shut: “How 
much 1-o-o-o-nger, Dad?” “How long 
before lunch, M-o-m-m-y?” 

There are several ways to deal 
with the hungry child syndrome— 
car games, tranquilizers, corporal 
punishment— but the best solution is 
to have on hand an ample supply of 
fun-to-eat snacks, not the usual bags 
of potato chips and overstuffed 
sandwiches, but imaginative, nourish- 
ing, easy-to-prepare treats. 

One important advantage of mak- 
ing your own road food is the money 
and time you’ll save eating en route. 
Given the price of food at most 
highway lunch spots, your homemade 
fare can save you a bundle— at least 
enough for a second pair of Mickey 
Mouse ears. 

The only real challenge is to plan 
the kinds of food that will not leave 
your car interior looking like the 
bleachers of a baseball stadium at 
the close of a game. Snacks that 
crumble, drip, squash, spill, or that 
provide a potential arsenal of pits to 
aim at younger siblings are definitely 
out. 

Small sandwiches, made of thin 


PLEASING 

PACKAGES 

• Bag the family’s favorite 
sandwiches and a surprise 
snack in individual HOBO 
PACKS: bright calico kerchiefs 
tied up tight. 

• Save coffee tins for your 
next car trip. Wrap the outside 
in pretty paper or write a mes- 
sage on plain paper for each 
child, and wrap it around the 
can. Then line your CANNED 
GOODIES with plastic wrap 
and fill with a road-food picnic. 


bread slices that are then cut into 
sections, are easier for children to 


Ann Pleshette, an associate editor of 
Redbook magazine, frequently writes 
about food. 


handle than thick, crusty rolls. A 
pita-bread pocket or a soft hot dog 
roll is more manageable and fun for 
on-the-road picnics. Mild-flavored 
fillings that are low in salt content 
are better than spicy, thirst-producing 
spreads, and thermoses of fruit juice 
have it all over soft drinks for getting 
the most nutrition for your money. 

Whatever you decide to pack, be 
sure to bring along damp washcloths 
(pack them in small plastic bags), 
sturdy plastic utensils, napkins, and 
plastic or paper bags for a neat 
cleanup. Of course, there’s no such 
thing as totally crumb-free road food, 
so if you have a car vacuum, bring it! 


2 teaspoons mustard 
1 teaspoon curry powder 
Salt and pepper to taste 

In a medium-size bowl, mix all 
ingredients. Taste for seasoning. 
Stuff pita breads with mixture. 
Makes 4 sandwiches. 


SWEET CHEESE CUTOUTS 


1 0-1 2 slices of raisin bread 
1 6-ounce package cream cheese 
Vi cup strawberry jam 
4 tablespoons milk 



BACON-AND-EGG-BOATS 


Combine ingredients. 
Fill 4 hot dog rolls. Cut 
in half. Makes 8 small 
boats. 


PITA POCKETS 


HOMEMADE MUNCHIES 


2 tablespoons vegetable oil 
'A cup peanut butter 
Pinch of salt 

1 cup bite-size shredded rice 
biscuits 

1 cup bite-size shredded wheat 
biscuits 

1 cup thin pretzel sticks 
Vi cup peanuts 
Vi cup raisins 

In a large skillet, stir the oil and 
peanut butter over moderate heat 
until blended. Add salt and re- 
maining ingredients. Stir about 1 0 
minutes or until the cereal is well 
coated and crisp. Spread on 
paper towels to cool. Makes 
about 4 cups. 


6 hard-cooked eggs, chopped 
4 slices bacon, crisp-cooked 
and crumbled 
Salt and pepper to taste 
113-112 cup mayonnaise 
2 tablespoons chopped 
fresh chives or 
parsley 


4 pita breads 

2 7-ounce cans tuna, drained 
Vi cup chopped fresh dill or parsley 
'A cup chopped sweet red pepper 
2 tablespoons lemon juice 
Vi cup mayonnaise 


Beat together cream cheese, 
jam, and milk. Spread on thin 
slices of raisin bread. Cut into dif- 
ferent shapes with cookie cutters. 
Makes 4-6 sandwiches. 


GRAPES N NUTS 


3 cups seedless grapes, washed 
and dried 

Vi cup sliced, blanched almonds 
Vi cup chopped walnuts 
1 cup vanilla-flavored yogurt 
1 teaspoon cinnamon 
'A teaspoon nutmeg 


Combine all ingredients. Pack 
in insulated individual contain- 
ers. Makes 
about 6 
servings. 



i vw 



Karen Cure is the executive edi- 
tor of Steve Birnbaum’s guide to 
Walt Disney World and the new 
Bimbaum guide to Disneyland. 


B> Karen Cure 

Nearly every Disneyland lover knows 
the story about Walt Disney borrowing 
on his life insurance to finance the park 
when more conventional sources of 
backing had dried up. The funds were 
always smaller than the dream in the 
early years, and as Disneyland neared 
completion they ran very low. Fantasy- 
land, where Walt originally intended to 
bring his animated classics to life, took 
on the look of a sort of medieval 
carnival — the plain flat facades painted 
to resemble bright-colored banners. It 
was all a part of the overall cost 
reduction that characterized the year 
1954 in the life of Walt Disney. 

Subsequent rehabilitations and reno- 
vations in the rest of the park did 
much to banish the effects of 
that early cash crunch. The Jungle 
Cruise in Adventureland was ex- 
panded and enlarged. Tomorrowland 



Snow White's 


Village Inn 
Restaurant 




Adventures 


•j'aii 3 


was totally redone. New attractions 
were added; old ones were replaced with 
far more elaborate shows. The borders 
of the original Frontierland were 
stretched to embrace the first New 
Orleans Square, and then Bear Country 
— each lusher and more evocative, it 
seemed, than its predecessor. 

In recent years, Walt Disney Produc- 
tions’ attractions-research-and-develop- 
ment arm, WED Enterprises, has been 
hard at work on Tokyo Disneyland, 
slated to open during mid 1983, and on 
the $800 million Epcot Center at Walt 
Disney World, scheduled to open Octo- 
ber 1, 1982. But Fantasyland’s banners 
and pennants remained as simple as 
ever, and visitors who dismissed the 
area as little more than a custom-made 
kiddieland saw few signs that the 
decision makers in the Disney design 
organization disagreed with their 
opinion. 

That is, until early 1982. To honor 
the sixtieth anniversary of the debut of 
animation, work began on a whole new 
Fantasyland. The Fantasyland Theater 
ceased to exist altogether and Snow 
White’s Adventures closed down. A 
high plywood barrier painted pink and 
lavender surrounded King Arthur 


Carrousel. Posters made the proper 
apologies to guests, and Disneylanders 
showing VIPs around the park could be 
heard explaining that Fantasyland didn’t 
always look this way. 

THE BEST IS YET TO COME 

What both sets of apologies fail to 
convey is the incredible scope of the 
changes: this reconstruction project 
promises to turn Fantasyland into one 
of the very best parts of the park. 
Anyone who ever really wanted to see 
fantasy realized will rejoice that circum- 
stances conspired to postpone the 
remodeling as long as they did. For the 
two big new Disney projects mentioned 
above brought about the development 
of new technology and special effects 
that were just not available even as 
recently as 1980— fire that looks authen- 
tic, waterfalls that don’t get you wet, 
a moon that shines eerily real, a sea 
that seems to ebb and flow, a queen who 
turns into a hag, and a boy who grows 
donkey ears before your eyes— not to 
mention stars that twinkle like pixie 
dust, and pixie dust that sparkles like 
fireworks. Except for the fiber optics— 
tiny fibers of glass that transmit light 
used for the glitter and stars through- 
out— most of the methods used to create 
the effects are relatively simple. To 
make fire, for instance, a condenser 
blows out a cloud of steam, and a pro- 
jector aimed at this “screen” beams the 
proper image. Producing a waterfall is 
only a bit more involved: vapor spewed 


out from high above is sucked straight 
downward by a vacuum below, a pro- 
jector shines a picture of a cascade from 
behind, and a tape provides the sound 
effects. Scrims and lights, sheets of glass 
and rippled plastic, and mirrors provide 
the other images. 

The time and experiments with these 
materials in the combinations necessary 
to make the effects believable are 
expensive. The cost of the Fantasyland 
project is estimated at nearly $36 mil- 
lion, more than double the initial cost of 
Disneyland when it opened in 1955. The 
bulk of the work for the new Fantasy- 
land will be completed by the summer 
of 1983. 

THE INSIDE STORY 

About $4 million, give or take a mil- 
lion or so, will be spent on each of four 
familiar attractions— Peter Pan Flight, 
Snow White’s Adventures, Mr. Toad’s 
Wild Ride, and Alice in Wonderland 
(which won’t be completed until 1984) 
— plus a brand-new attraction called 
Adventures of Pinocchio. The medieval 
fair will yield to a quaint town similar 
to the Pinocchio Village viewed from 
the Storybook Land canal boat ride. 
It will be modeled after the present 
Merlin’s Magic Shop building, a Euro- 
pean-style cottage with shutters, leaded 
glass windows, pretty geranium-edged 
window ledges, and sturdy chimneys. 
Toad Hall will be Tudor-style, complete 
with towers and turrets, all framed by 
formal gardens with poodle-shape trees. 
The Peter Pan attraction boasts another 
English facade, and the one for Snow 
White will be housed in a slightly 


DISNEY NEWS FALL 1982 15 





Adventures of Pinocchio 


foreboding castle. Old World is the mood 
here— and the atmosphere is straight out 
of a storybook. 

The interiors of the shows have been 
designed as three-dimensional renditions 
of Walt Disney’s films— Peter Pan, Snow 
White, Ichabod and Mr. Toad, Alice in 
Wonderland, and Pinocchio. If the attrac- 
tions don’t always follow the familiar 
story lines precisely, as in the Adventures 
of Pinocchio, then at least they show off 
the characters and capture the proper 
mood. The scenes themselves may come 
as no surprise to those already familiar 
with the present attractions, except that 
they should all be a bit more dramatic 
and evocative. For instance, the Seven 
Dwarfs’ cottage at the beginning of 
Snow White’s Adventures is set in a 
wonderfully detailed forest that looks as 
if it goes on for miles. 

A WORLD OF ILLUSION 

Most of the dazzle inside will come 
from the special effects. In Mr. Toad’s 
Wild Ride, for instance, visitors travel 
through what seems to be a fire blazing 
in the hearth. In Peter Pan, there’s a 
London Town as close to perfection as it 
could be made by using an enlarged map 
of that city as a model. There are little 
headlights on the streets below, and 
straight ahead are what seem to be 
lovely clouds, illuminated by the glow 
of a big moon. The island is surrounded 
by an ocean that ebbs and flows like the 
sea itself and by a heaven full of tiny, 
twinkling stars, and the blackness seems 
to stretch into infinity. The volcano sends 
out puffs of steam; the lava on its sides 
really glows. Little clouds of smoke rise 
from an Indian campfire. After Peter Pan 
vanquishes Captain Hook, the familiar 
pirate-ship vehicles fly you through what 
looks and sounds like a real waterfall. 
And then, just before heading into the 
unloading area, there’s a rainbow as 


transparent as the real thing; and off in 
the distance you see Tinker Bell turning 
the pirate ship into a mirage of golden 
pixie dust. 

In Snow White’s Adventures, the 
Wicked Queen becomes a frightening 
old hag before your very eyes. Her bony 
arm tempts you with a poisoned apple 
—but when you reach out to take it, 
you touch only thin air. In the Seven 
Dwarfs’ mine, the jewels really glow. 
And in the Frightening Forest, the trees 
reach down to grab at you, crocodiles 
snap, and bats dive through the air 
above. 

The new Pinocchio show, a sort of 
drama that reveals the consequences of 
not choosing the right path, begins and 
ends in a friendly little village. In 
between, Jiminy Cricket, conscience 
personified, is there to show the way, 
but you seldom follow the correct path 
and must learn the consequences of your 
mistakes the hard way. Pleasure Island, 
any youngster’s idea of heaven, full of 
fireworks and candy Ferris wheels, turns 
out to be a very dangerous place. 
Tobacco Row is sordid; Stromboli actu- 
ally tries to put you in a cage; and 
Monstro the Whale almost swallows you 


ghostly as the figures in the Haunted 
Mansion, but covered with tiny sparkles. 
Then she disappears. And as she does, 
the sparkles melt— first from her head, 
arms, and torso, then from her skirt, until 
all that remains is a pile of pixie dust, 
twinkling on the floor. 

DON’T STOP THE MAGIC 

That vision alone makes the 18 
months of construction and the long 
years of waiting worthwhile. But there 
are thousands of small details to make 
sure that the magic doesn't stop when 
you leave the show. Walt once said, “The 
day we forget the details is the day that 
Disneyland stops being Disneyland.” 
And so there are blocks and toys sitting 
on the windowsills of the Darling home, 
which houses the Peter Pan Flight, and 
there are weathervanes turning atop the 
turrets of Toad Hall. Outside Snow 
White’s castle, the Queen is scowling 
down from the heights. The guest 
waiting areas are far smaller than at Big 
Thunder Mountain— but they’re almost 
as absorbing: while you’re waiting to 
board, the route winds through Toad 
Hall’s formal gardens, a castle dungeon, 
and a small, old-fashioned village. King 



Mr. 7 bad’s Wild Ride 


up. Thus one learns to let conscience be 
your guide. 

Peter Pan may be the “beautiful” at- 
traction in the new Fantasy land quintet, 
but the Adventures of Pinocchio is the 
longest and boasts one of the most 
glorious special effects: At one point, the 
Blue Fairy appears, as wraithlike and 


Arthur Carrousel was moved a mere 
20 feet to the northwest — a minor 
distance that required major efforts from 
all sorts of heavy machinery and dozens 
of specialists— all so that it could be 
framed in the archway as visitors 
approach Sleeping Beauty Castle. The 
once unimposing Mad Hatter Shop is 


16 DISNEY NEWS FALL 1982 



Dumbo’s Flying Elephants 


of time between the completion of the 
west area and the commencement of the 
east area, all of Fantasyland’s central 
attractions (except Alice in Wonder- 
land) will be under construction and also, 
briefly, the Skyway, usually a one-way 
ride, will be available only for round 
trips. The whirling, spinning Teacups 
so beloved by the 9-to-20-year-old set 
gave up their place to the Carrousel early 
in the process, and will not reappear until 
the completion of the Alice in Wonder- 
land area in 1984. And when they do, it 


will be on the site of Skull Rock and 
the Pirate Ship, both of which, after 
much discussion among designers, are 
going into storage. The Tinker Bell Toy 
Shop and the Arts and Crafts shop may 
see some changes as well. 

Skeptics will bemoan every step, and 
the nostalgic may reminisce. But even 
the naysayers will have to concede that 
Fantasyland has finally come into its 
own. It is sure to become— as some 
Disneylanders have called it— “the 
happiest land of all.” □ 


being transformed into something that 
looks like the rabbit hole in Alice in 
Wonderland. Furthermore, the present 
food stands are making way for a big 
new restaurant that will look very much 
like Geppetto’s toy shop in Storybook 
Land and as much like a European 
peasant cottage as any spotlessly clean, 
well-varnished dining facil- 
ity ever could. 

The Dumbo ride, 
a very important part 
of every youngster’s visit 
to Disneyland, will take 
on the appearance of 
an entertainment de 
signed for a Vic- 
torian-era Crystal 
Palace, all curli- 
cues and ginger- 
bread, a sort of 
old-fashioned kine- 
tic sculpture with 
weights and counter- 
weights that promise to 
make the assemblage as end 
lessly fascinating for adults as it 
already is for their wide-eyed offspring. 

The change from medieval carnival 
to Old World community will not be easy. 
The attractions in the western half 
of the land — Snow White, the Fantasy- 
land Theater, and King Arthur Car- 
rousel-will be closed for varying 
lengths of time, and then most of the 
eastern area— that is, Peter Pan and Mr. 
Toad— will be razed. For a short period 


Alice In Wonderland 


DISNEY NEWS FALL 1982 17 


Behind the Scenes 

Walt Disney’s Romance With. The Rails 


By Margery Stein 

In the early years of this century, great 
steam-belching, bell-clanging loco- 
motives blazed across the open plains of 
the Southwest, promising glory on the 
rails to every schoolboy who stood 
waving alongside the tracks. The music 
of those fabled “iron horses,” their whistle 
blasts, the far-off clickety-clack of their 
wheels, lives on today mostly in memory 
and song— and at Disneyland and Walt 
Disney World. 

Those trains of yesteryear so inspired 
the young Walt Disney that he decided 
to capture their magic for all time in his 
parks— not as some dusty exhibit of 
faded relics, but as living, smoke-snort- 
ing engines that whisk visitors through 
backwoods rivers, past frontier settle- 
ments, and on into mountains and wild 
bear country. The 1%-mile train trips are 
a natural outgrowth of Disney’s lifelong 
romance with the rails. 

GETTING INTO TRAINING 

During his boyhood in Marceline, 
Missouri, Walt Disney became fascinated 
as he watched the gleaming locomotives 
and freight trains cross the prairies. 
Then, in 1917, his own railroad career 
began when he got his first job— as a 
“news butcher” selling candy, magazines, 
and newspapers on the Kansas City line 
near where he was born. He turned out 
to be his own best customer, making 
barely any money. But he was always 
willing to bribe the engineer with tobacco 
in exchange for the view from an upper 
berth in the coal car. 

Walt Disney left for Hollywood in 
1923, but his enthusiasm for life on the 
rails remained. A few years later he got 
involved with model railroads when he 
built a Lionel train layout for a nephew’s 
Christmas gift. Soon after, he had his 
first hands-on experience with a life-size 
steam train: he spent an afternoon 
running the one-inch scale railroad that 
belonged to Dick Jackson— the so-called 
dean of steam miniature railroaders in 
Southern California — and became an 
instant devotee. 

“Walt always was interested in 
people’s hobbies,” says Bill Cottrell, his 
brother-in-law, “and when he began to 
think about building his own steam model 
railroad, he discovered that several of 
his employees were railroad hobbyists.” 


Margery Stein is an associate editor of 
Diversion magazine. 


There was Ward Kimball, one of the 
studio’s top animators, who kept the 
full-size, narrow-gauge Grizzly Flats Rail 
Road (circa 1881) in his backyard in San 
Gabriel; and Ollie Johnston, another 
animator, who had a one-inch scale 
Pacific-type railroad, the La Canada 
Valley Line. Walt would go out and ride 
around with these two, and his decision 
to build his own line was no doubt 
inspired by that experience. 

WHAT WALT WANTED 

In planning his own train, Disney 
inspected and operated a few other 
railroads before deciding on a 1%-inch 
scale, 714-inch gauge (a standard minia- 
ture railroad gauge) as most appropriate 
for his Holmby Hills estate: it was the 
smallest size that was still comfortable to 
ride. Unfortunately, there was no 
standard equipment available in that size, 
and Disney couldn’t find anything else 
that suited him. So he studied the books 
and photographs of early American 
railroads supplied by Ward Kimball, Dick 
Jackson, and Gerald Best (of Warner 
Brothers sound department), also a 
well-known railroad historian and live- 
steam buff, and he did extensive research 
in libraries and rare-book shops through- 
out the country. Finally, from this 
mountain of raw data, plus blueprints 
from old Southern Pacific Rail Road files, 
he chose a picture of the one he wanted: 
Central Pacific Rail Road No. 173, a 
typical diamond-stack locomotive built 
in Sacramento, California, in 1872— one 
of the first locomotives made on the West 
Coast. 

He obtained the original blueprints 
from the offices of the Southern Pacific, 
and in September 1948 Ed Sargeant, a 
mechanical draftsman at the Disney 
Studio with years of experience building 
miniature steam locomotives, began 
working on drawings for Miniature No. 
173. Two other Disney employees, Ray 
Fox and George Bauer, made the patterns 
in the studio prop shop, while castings 
and fittings were fashioned in the studio 
machine shop by the department head, 
Roger Broggie (who was to become a 
guiding force behind the creation of the 
Disneyland and Walt Disney World 
railroads), along with three other Disney 
workers— Gene Foster, William Gillis, 
and Dick Van Every. Working part-time 
in the shop, these six men put together 
the locomotive and tender in about a year. 


The train was ready to steam off on 
December 24, 1949. 

IN THE BACKYARD 

Walt Disney himself was intimately 
involved in the building of his little 
Carolwood Pacific (named after Carol- 
wood Drive, where he lived). Roger 
Broggie taught him how to run a lathe, 
and he built the whistle, flag stands, and 
handrails on it. “Walt had his own bench 
and tools, and he’d come down and work 
at night,” says Broggie. “He was a 
perfectionist in everything he did or 
wanted to do— and he wanted an exact 
reproduction of the full-size 1872 loco- 
motive No. 173.” 

Great care also went into planning and 
laying the half mile of track in the Disney 
Holmby Hills backyard. So as not to 
disturb his neighbors with the train’s 
daily travels, Walt had portions of the 
land raised, tunnels dug underground, 
special shrubs planted, and power lines 
relocated. He had designed a 90-foot 
tunnel with an S-curve and, although it 
proved troublesome, he was determined 
to have the curve— that way, when the 
train went into the tunnel, it was in 
complete darkness, giving the ride a bit 
of a thrill. “I was out there helping him 
lay the track when they were building 
it,” says Harper Goff, another railroad 
buff and Disney colleague who was 
closely involved in the development of 
Disneyland. “There were all kinds of 
problems, and the contractor thought he’d 
be helpful and, you know, score a few 
points with Walt. So he said to him, ‘Mr. 
Disney, this is turning out to be very 
expensive. I’ll tell you how you can 
simplify it and save money: make the 
tunnel straight or with a mild curve.’ Walt 
looked at him long and hard and raised 
one eyebrow the way he always did. ‘Do 
you think,’ he finally said, ‘that if I wanted 
to save money, I’d be engaged in building 
this complicated railroad around my 
house?’ The contractor was taken aback, 
of course— and the tunnel was built just 
the way Disney wanted it.” 

Disney named the locomotive of the 
Carolwood Pacific the Lilly Belle, for his 
wife. (The original engine, along with 
several of the cars, now resides at Walt 
Disney World in Orlando, Florida.) In 
May 1951 the final strip of track was 
laid, and from then on a favorite Disney 
pastime was piloting friends around on 
the train — which consisted of a one- 


18 DISNEY NEWS FALL 1982 


eighth-scale locomotive, six gondolas, 
two freight cars, two cattle cars, and 
one red caboose lovingly made by Walt 
himself. The track was laid out in a 
scenic pattern of trestles and tunnels 
along the edge of a canyon wall, and he 
carefully planned the landscaping along 
the route. 

FULL STEAM AHEAD 

It wasn’t that great a leap from the 
little backyard train to the bigger version 
in the park. Walt’s initial idea was to 
create a small family-style amusement 
park across from the studio, with a 
miniature train to link the two. His plans 
for Disneyland underwent many changes, 
but he persisted in his notion of a train 
that would circle the park. 

The Lilly Belle served, appropriately, 
as the model for the first two locomotives 
on the park’s Santa Fe and Disneyland 
Railroad (the Santa Fe was a park 
sponsor until 1974; then its name was 
removed from the line, and the trains 
became simply the Disneyland line): the 
C. K. Holliday , a diamond-stack loco- 
motive, was named after the founder of 
the Santa Fe Railroad, and a capstack 


locomotive was called the E. P. Ripley 
after an early president of the Santa Fe. 

“It was Disney’s inspiration to make 
his railroad a lot larger in scale than in an 
ordinary amusement park,” says Ward 
Kimball. “He’d seen my full-size trains, 
and he wanted his to look full size without 
actually being that big.” How did they 
get the exact proportions? “We took the 
Lilly Belle and blackboarded it,” says 
Roger Broggie, “blew up the little 
locomotive by drawing a full-size car on 
the wall.” Next a plywood mock-up was 
made, large enough for a man to walk 
through comfortably; and when it was 
determined that a six-foot door provided 
adequate entry space, the rest of the 
design— roof, sides, and wheels— was 
adapted accordingly. The final wheel 
spread became 36 inches, very nearly 
the same as the narrow-gauge railroads 
of old, and the trains were built to five- 
eighths scale with a 4-4-0 wheel arrange • 
ment: four wheels in front, four drivers, 
and no trailing truck or tender. 

The first two trains in the park, a 
freight-type named the Western Holiday 
Special and an 1890s passenger train, 
also were built in the machine shop at 


the Disney Studio. The freight train 
consists of five open cars with passengers 
facing toward the park. “At the start, 
Walt wanted to have an authentic cattle 
car on the freight train,” says Ward 
Kimball. “But the insurance company 
wouldn’t allow people to stand because 
they’d be thrown forward and might hurt 
themselves.” As for the passenger train, 
five of the six cars are no longer in 
use. “The enclosed cars took a long 
time to load,” says Bill Cottrell, “and 
it was difficult to see out of their framed 
windows.” 

PARLOR CAR PAR EXCELLENCE 

One car from the passenger train was, 
however, returned to the rails in 1976: 
the old observation car, considerably 
refurbished, became the elegantly 
dressed-up Lilly Belle Bicentennial 
Special and Presidential Car. Celebrities 
tour the park in it— on crushed- velvet 
chairs that seat 16, surrounded by silk 
roses, live palms, and stained-glass 
skylights. 

Although the wheels, frames, and 
boilers were actually built by outside 
contractors, every detail was meticulous- 





ly designed and rendered in the machine 
shop at the Disney Studio between 1954 
and 1955. Final assembly of the engines 
was then done at the Roundhouse — 
where the trains are kept at night— in 
the months before the park opened in 
1955. On opening day, Walt was behind 
the throttle for the first trip. 

Because the railroad immediately 
became one of the top attractions in the 
park, two more locomotives and three 
trains were added to the line. Of the new 
engines, the first, called the Fred G. 
Gurley after a Santa Fe board chairman, 
was located by Gerald Best and became 
part of the line in 1958. Originally built 
in 1894 by the Baldwin Locomotive 
Works of Philadelphia, it had been used 
to carry sugarcane from three planta- 
tions over the Lafourete Raceland and 
Longport Railway in Louisiana to 
shipping docks in New Orleans. The 
Ernest S. Marsh , added in 1959, was 
also named for a Santa Fe president. 
Built by Baldwin in 1925, it was re- 
claimed from a New England lumber 
mill. Under Roger Broggie’s direction, 
both engines were dismantled, stripped 
of old paint and rust, cleaned, and com- 
pletely restored and rebuilt for about 
$50,000— half the cost of locomotives 
built from scratch. 

The three new trains each have five 
open-air touring cars. The Excursion 
Train, added in 1958, is modeled after the 
“Narragansett cars” that took travelers 
in the eastern United States on excursion 
trips in the late 19th century; it was 
built especially to take park visitors 
through the Grand Canyon Diorama. In 
1966 two Deluxe Holiday Specials were 
added, the Holiday Blue and Holiday 
Green , one as a replacement for the 
retired passenger cars, the other as an 
additional train. 

ONCE AROUND THE PARK 

The trains— no more than three at a 
time — make their 18-minute circuit 
around Disneyland three times an hour, 
steaming along at 10 to 15 miles per 
hour. As of 198 1 , they ha ve carried about 
100 million passengers and driven about 
450,000 miles. The trip begins at the 
Main Street depot, goes through New 
Orleans Square, and stops for the train to 
take on water at Frontierland station. 
Moving past Indian villages and frontier 
forests, it skirts Fantasyland, reaches a 
flag stop at Tomorrowland, skims along 
the rim of the Grand Canyon, and then 
journeys back 200 million years to the 
“Primeval World” of prehistoric beasts 
before returning to turn-of-the-century 
America. 

A similar grand circle tour of the Magic 
Kingdom is made by the four trains at 
ten-year-old Walt Disney World Vacation 
Kingdom in Florida. These steam 
locomotives were unearthed by Roger 
Broggie and his scouts in Merida, 


Mexico, in 1969, where they were about 
to be abandoned after hauling sugarcane 
for the United Railways of Yucatan. The 
toros de fuego — “fiery bulls,” as the 
Mexicans called them — were all built by 
Baldwin between 1902 and 1928 in the 
United States. Smoke blackened and 
beaten up when they were found, the 
engines had also been used to carry 
freight and passengers through the 
Mexican jungles and across the country- 
side. 

Before they could be put into Disney 
service, the engines had to be totally 
overhauled and renovated. They were 
loaded onto five railroad flatbeds and 
shipped 700 miles to the Tampa shipyard 
to be restored. “We questioned the 
security there,” recalls Broggie, “so the 
Mexicans furnished shotgun riders to 
Texas. The train was so interesting to 
railroad buffs— a train hauling a train— 
that they kept track of it all across the 
country. Amazingly, it went all the way 
to Tampa without incident— and then 
someone stole a number plate the night 
before they took it into the shed.” 

Renovation of the tenders and engines, 
virtually bolt by bolt, cost about $125,000 
apiece. Five open-sided passenger cars 
were built for each train as well. George 
Britton, maintenance head, who worked 
on the trains, says, “The engines were 
torn apart, wheels sandblasted, new 
wheels ordered, and we put on ‘ginger- 
bread’— bells, flag holders, handrailings, 
headlights— to dress them up.” It took 
six men about a year and a half to 
complete the first one, also named the 
Lilly Belle. The sister engines Walter E. 
Disney and Roger E. Broggie — which 
were manufactured together in 1925 and, 
by coincidence, had remained together 
for 50 years — followed about a year later. 
And the Roy O. Disney , a 1916 steamer 
named for Walt’s brother, was the last to 
roll out of the yard. In contrast to the 
20-ton engines at Disneyland, these 
locomotives weigh 35 tons each: because 
Walt Disney World is more spacious, the 
greater distances require more horse- 
power. Operating at speeds of 10 to 12 
miles per hour, they make a round trip 
through the park in 15 minutes, 
over the same three-foot 
narrow-gauge track as in 
Mexico. Since the 
park’s opening on 
October 1, 1971, 
they have hauled 
over 42 million 
visitors. 

The trains at 
both parks are 
the first things 
to start up in the 
morning and the 
last to shut down 
at night. The 
brass work is hand 
polished every 


day, and each evening the machine-shop 
crew in the Roundhouse gives the trains 
a thorough inspection, cleaning, and 
lubrication, and makes any necessary 
repairs. The engines are steam cleaned 
every week, and once a year each one is 
dismantled, totally overhauled, and 
repainted. Because of such careful 
attention, the trains have lost scarcely 
any operating time in their long careers. 

So these steam engines that Walt 
Disney loved so much roll endlessly on, 
almost indestructible, huffing and puffing 
into the Main Street depots with their 
wheels flashing and headlights flickering. 
Then they move out again into the 
reaches of the Magic Kingdoms, to places 






20 DISNEY NEWS FALL 1982 



Quite A Character 

Gene Shalit Interviews Mickey 


This Christmas, Mickey Mouse re- 
turns to the screen in his first starring mov- 
ie role since 1952. In anticipation of that 
event, we got together over a couple of 
cheese sandwiches, and as he nibbled, 
we settled back, and I spoke in italics. 

So, Mr. Mouse —may I call you Mickey? 

Whatever you please. 

For a mouse of your age, your color 
is excellent. 

Starting out in black and white, it 
could only get better. 

I read in one of the gossip columns that 
you’d gotten a face lift. 

Never! I did get a younger animator 
for my new film, though. I think he’s 
given me the best ears of my life. 

Seriously, it has been a while since 
your public has seen you. What have you 
been doing with yourself? 

I’ve been taking it easy, letting the 
residuals pile up and waiting for the 
right part. Not a day goes by without 
my being visible somewhere: on tele- 
vision, in the funny papers, or in movies 
or books. You know I have 
my own production company, 
too. Besides my own TV spe- 
cials for Disney, we’ve done 
several episodes of Little 
Mouse on the Prairie, plus 
Die Fledermouse, for PBS, of 
course. 

You ’ve played so many roles 
in your life. Have you ever 
traced your genealogy? 

The other day I got out a 
book of heritage roadmaps, 
called Routes, to see where 
I came from. Turns out I’ve 
had some pretty famous an- 
cestors. Remember the mouse 
that roared? He was my great 
grand uncle. The French 
branch of our family fancied 
up their names. They loved 
chocolate, so they added an 
“s.” Now they’re Mousse. 

We’ve had our share of sor- 
rows, too. In Elizabethan 
England, a family of meadow 
mice had children with severe 
vision problems. They were 
known locally as the three 
blind mice, and the wife of a 
nearby fanner actually cut off 
their tails, poor souls. 

I hear you also have strong 
ties to a top White House aide. 

Do you care to comment? 

Sure. Everybody knows Ed 
Meese are my cousins. Good 
guy. Comes from a big family. 


Tell us how you got started in movies. 

My friend, Walt Disney — this was 
back in 1927 — had been doing some 
movie cartoons with only sketchy success 
and he was looking for a star. He had 
been working with Oswald Rabbit, but 
it hadn’t worked out. He was on a train 
from New York to Hollywood when he 
had an idea that I might do well on 
the screen. He thought my name was 
Mortimer, but Mrs. Disney said, “That’s 
a bit pompous, isn’t it? How about 
Mickey?” And so it was. 

And your debut? 

It was called “Plane Crazy,” black and 
white and silent. I remember how hard 
Mr. Disney and his group worked on 
that, and when it was finished, we all 
crowded into a small, stuffy room for 
the first screening. I wondered how I’d 
look and I was nervous. When it was 
over, no one said a word. I was so embar- 
rassed that I wanted to take tail and beat 
it. “Plane Crazy” just never took off. 

Were you discouraged? 


Yes, but you know me— I’m Mickey, 
not Mopey. Hey, there’s a people hair in 
my sandwich. What kind of restaurant 
is this? Waiter! 

You sound grumpy. 

No, he was in Snow White. 

That’s funny. 

So was “Steamboat Willie,” back in 
1928. It was my first movie, my first 
talking picture, my first success. A car- 
toon in sound! No one had ever, uh, heard 
such a thing. 

How many movies have you been in 
since then? 

Altogether, about 140. Hardly anyone 
else has made that many. Certainly no 
other mouse. 

Now, Mickey, tell us about your first 
starring role in 30 years, in “Mickey’s 
Christmas Carol.” 

Top billing. Dickens drove a hard bar- 
gain. 

How did you get in shape for such a de- 
manding role? 

I had to knock off the midnight binges 
of frozen Sara Lee cheese- 
cake, and I’ve been working 
out with Arnold Muscle- 
mouser. He’s really quite a 
gentle fellow, but I never call 
him a pussycat. 

/ understand a bunch of 
your old friends have roles in 
the film, too. 

That’s right. Uncle Scrooge 
McDuck plays Ebenezer 
Scrooge. Perfect casting, I 
must say. Donald Duck plays 
Ebenezer’s nephew. That role 
fills the bill, too. Daisy plays 
Scrooge’s girlfriend, and I 
even talked Goofy into com- 
ing up and playing Marley’s 
ghost. We had to use a lot of 
pancake makeup on old Goof, 
’cause he’s been living down 
in Florida in a condo near 
Walt Disney World, you know. 

What about Minnie? Surely 
you found a part for her? 

She plays my wife. It was 
a dream role for both of us. 
Minnie looks as good as ever. 

Anything about the filming 
you didn 't like? 

Well, we had to spend too 
much time in New York. What 
a rat race. 

Well, Mickey, that’s all the 
time we have. Thanks and 
good luck with “Mickey’s 
Christmas Carol." I loved it. 
Thank you, Gene. □ 



DISNEY NEWS FALL 1982 21 



This fall and winter, Disney film fans 
have a terrific lineup of attractions in 
store for them: two new films, an impor- 
tant re-release, the cartoon comeback of 
Mickey Mouse (who has been away from 
films for the last 30 long years), and a 
spine-chilling Ray Bradbury special. 

In November look to your neighbor- 
hood theater screens for Never Cry Wolf, 
the story of a man and his relationship 
to the wilderness that surrounds him. 
Then celebrate the Christmas season 
with the re-release of The Sword in the 
Stone, based on the legend of King 
Arthur. This full-length animated 
cartoon will be accompanied by a short 
feature adapted from Charles Dickens’s 
classic Christmas tale entitled Mickey’s 
Christmas Carol, which will not only star 


Mickey himself in his triumphant return 
to the silver screen but also will include 
a host of other Disney superstars 
in leading roles. Also during the 
holidays, keep your eyes peeled for Ray 
Bradbury’s Something Wicked This Way 
Comes, starring Academy Award- 
winner Jason Robards. 

MAN’S BEST FRIEND? 

Never Cry Wolf, directed by Carroll 
Ballard, whose Black Stallion was such 
an outstanding favorite, was adapted 
from the 1963 best-selling novel of the 
same name by Farley Mowat. Based on 
Mowat’s autobiography, the story was 
filmed entirely on location in the Arctic 


and western Canada and centers around 
Farley’s experiences as a young zoolo- 
gist sent by the government to figure 
out why Arctic wolves are slaughtering 
the caribou. At first filled with great 
expectations of adventure, Mowat soon 
learns he must come to terms with his 
own isolation and ultimately fight for 
survival. He realizes that the wolves are 
his only companions, and the film 
evolves into a symbolic look at the 
nature of the relationship between man 
and animal. 

Disney has always been a master in 
its dramatic portrayals of nature’s secrets 
and of man’s relationship with the animal 
kingdom, so it’s no surprise that this 
film includes stunning scenes of wildlife. 
In fact, the beauty— and the absolute 
desolation— of the Arctic almost steal 
the show. 

This is the first time in its 57-year 
history that Walt Disney Productions 
cooperated with an outside production 
team to film a feature-length motion 
picture. Never Cry Wolf was made by 
Disney in association with Lewis Allen 
Productions from a screenplay by Curtis 
Hanson, who wrote The Silent Partner, 
and Jay Presson Allen, whose numerous 
credits include Cabaret and Funny Lady. 

IN DAYS OF OLD... 

The legend of King Arthur is dear 
to both young and old, and it has been 
a popular subject for scores of books, 
plays, and movies. First released by 
Disney in 1963, The Sword in the Stone, 
an animated cartoon feature based on a 
section of T. H. White’s book The Once 
and Future King, is a fun-filled account 
of the exploits of young King Arthur 
and his many adventures with Merlin 
the magician. The magic of Walt 
Disney’s Merlin is far from black; in 
fact, in this cartoon version Merlin is 
really quite lovable as he absentmindedly 
fumbles along trying to educate a 
scrawny young lad named Wart, who 
is destined to become Arthur, King of 
England. Along the way, Arthur and 
Merlin meet a mischievous old witch 
named Madam Mim. She’s Merlin's arch 
rival, and the antics get frantic as these 
two try to outwit each other. 

Actor Sebastian Cabot, best remem- 
bered for his role as French, the butler, 
in the TV series Family Affair, narrates 
the film and also doubles as the voice of 
Sir Ector, the foster father of Wart. 

Animation often seems like a bit of 
Merlin’s magic, but that magic really is 
the result of nearly endless hours of 
hard work. To make The Sword in the 
Stone, 300 Disney artists used exactly 
1,325,650 pencils and made more than 
a million separate drawings before the 
three-year job was complete. These 
drawings, set out end to end, would 
cover about 800 miles. 

The talents of top animator Milt Kahl, 
who helped create such characters as 
Cinderella and Peter Pan, were a 


22 DISNEY NEWS FALL 1982 





particularly important contribution to The 
Sword in the Stone. According to Kahl, 
animators are the parents of stars like 
Mickey and Donald. “We create the char- 
acters and their personalities. Also!’ 
says Kahl, “[the animator] must be a 
top-flight artist, have a well-developed 
story sense, and the patience and under- 
standing of a good psychiatrist.” 

The Sword in the Stone was directed 
by Wolfgang Reitherman, who lent his 
talent to such earlier Disney successes 
as Snow White and the Seven Dwarfs, 
Fantasia, Pinocchio, and Dumbo. 

IT’S A CLASSIC 

Our favorite mouse has made a 
triumphant film return, and we all can 
look forward to the fun when Mickey 
(as Bob Cratchit), Donald Duck, Minnie 
(who makes a cameo appearance as Mrs. 
Cratchit), and Jiminy Cricket team up in 
Mickey’s Christmas Carol, a 30-minute 
featurette that will accompany The Sword 
in the Stone. Alan Young, Wayne 
Allwine, Clarence Nash, and Hal Smith 
provide the background vocal talent, 
while the key animator in Mickey’s big 
comeback is 23-year-old Mark Henn. 
Henn explains that drawing Mickey is 
very difficult because he has a certain 
look that everyone knows. That look 
underwent a steady evolution and 
maturation from the days of “Steamboat 


Willie” in 1928 to The Simple Things in 
1953. In the 1980s, Mickey returns to 
the appearance of his middle years, with 
the golden times of Mickey and the 
Beanstalk and The Sorcerer’s Apprentice 
serving as models. 

Another Christmas release — and a 
film surely not to be missed— is Walt 
Disney Productions’ adaptation of Ray 
Bradbury’s book and screenplay Some- 
thing Wicked This Way Comes. It is the 
story of two 13-year-old boys who 
stumble upon the unsavory secrets of a 
traveling carnival. The residents of 
Green Town, Illinois, are never again 
the same after Dark’s Pandemonium 
Carnival comes to visit. A carousel that 
can make you younger and a mirror that 
bestows great beauty are just two of the 
“amusements” that Mr. Dark can 
provide. When he does grant your 
innermost wishes, however, it’s only at 
the greatest possible cost. The climax 
of the film comes w'hen the towm librar- 
ian clashes w'ith the sinister Mr. Dark. 
At stake are his soul and that of his son. 

Ray Bradbury is world renowned for 
his stories of science fiction and fantasy, 
and he has made several previous 
unsuccessful attempts to bring Some- 
thing Wicked to the screen. Finally, just 
the right combination of talented people 
succeeded in bringing the project to 
fruition. 


The construction of specialized sets, 
including a Victorian town and a flashy, 
easy-money-looking carnival, was the 
project’s first priority. Under the eye 
of production designer Richard Mac- 
Donald, whose previous credits include 
Marathon Man, Day of the Locust, and 
Altered States, $3.5 million was spent 
for new sets constructed specifically for 
the film. 

Jason Robards stars as Charles 
Halloway, a quiet man whose heart 
condition has kept him from being a real 
father to one of the boys. Robards has 
won the coveted Oscar twice in his long 
film career— the first time in 1976 for 
best supporting actor in All the Presi- 
dent’s Men and again in 1977 for his 
role as Dashiell Hammett in Julia. 

Long regarded as a star of the London 
and Broadway stages, Tony award- 
winner Jonathan Pryce makes his Amer- 
ican film debut as the ominous Mr. Dark. 

UP AND COMING 

As we take a peek into the Disney 
film future, Margot Kidder, of Superman 
fame, will be paired with Robert Hays, 
of Airplane, in 1983 for a bit of mystery 
and lots of mischief in the adventure film 
called Trenchcoat. The Black Cauldron, 
an all-new Disney animated feature film 
based on an ancient Welsh myth, is also 
waiting in the wings. □ 



WORD 


IN THE 



lYLicReys 
Christmas Carol 


A new Disney featurette. 


COMING AT CHRISTMAS TO A THEATRE NEAR YOU 




VACATION BENEFITS, 
TRAVEL PACKAGES, 
AND SPECIAL 
VALUES 


As members of the Magic Kingdom 
Club, you and your family are entitled 
to a valuable variety of special tours, 
reduced admission prices, plans, and 
benefits at both Disneyland and Walt 
Disney World and on rental cars and 
cruises in the United States and abroad. 

So here is a rundown on several of 
the travel benefits of special note. All 
package plan prices will be in effect 
throughout 1983. For more details 
on any one (or all) of them, just con- 
tact your Club Director or the Magic 
Kingdom Club Travel Centers at P.O. 
Box 600; Lake Buena Vista, FL 32830 
(305-824-2600); or at P.O. Box 4180; 
Anaheim, CA 92803 (714-520-5000). 
When making reservations, a phone call 
gets the best results because the avail- 
ability of accommodations is constantly 
changing. If you do decide to write to the 
Travel Center, be sure to include your 
chapter number. 

Furthermore, always plan as far in 
advance as possible (at least six months 
ahead for trips to Walt Disney World), 
and don’t forget your Magic Kingdom 
Club membership card: It must be pre- 
sented to qualify you for all of the valuable 
package plans, benefits, and special 
values described below. 



It’s hard to deny 
the appeal of the everything 
included vacation principle. For a single 
price per person, you get not only 
lodgings but meals, sports, and all the 
special activities that can possibly be 
crammed into a single holiday. 

At Walt Disney World this sort of 
vacation has even greater 
appeal — and the 


all-inclusive World Vacations that the 
Magic Kingdom Club has been offering 
for the last few years have a reputation 
for being among the best travel pack- 
age plans anywhere. Last year’s five- 
night plan has been supplemented by 
four-, six-, and seven-night plans. Those 
lasting four nights are a Club exclu- 
e. 

The World Vacations’ popu- 
larity is easy to understand 
when you consider what 
they include. At meal- 
times there’s a choice of 
not just one or two res- 
taurants— but of literally 
I dozens. Diversions in- 
clude water sports, golf 
on any of three superb 
courses, and tennis, too, in 
addition to visits to two of 
the most compelling attrac- 
tions on earth — Epcot Center 
and the Magic Kingdom. You have 
your choice of lodging in the Contem- 
porary Resort Hotel Tower, Polynesian 
Village Resort Hotel, or a two-bedroom 
Vacation, Treehouse or Fairway Villa. 
All plans include the famous breakfast 
and dinner shows. 

Prices start at about $496 per adult, 


/ 


\ 



If travel budgets 
are tight, the best 
ways to cut costs 
and still enjoy the 
convenience and 
value of a Magic 
Kingdom Club pack- 
age plan are the Village 
Holidays and the Family 
Getaways. 

Village Holidays feature family-size 
accommodations at the hotels in the 
Walt Disney World Village Hotel 
Plaza — the TraveLodge Tower, the 
Americana Dutch Resort Hotel, the 
Howard Johnson ’s Resort Hotel , and the 
Hotel Royal Plaza (and the Buena Vista 
Palace, opening April 1983) — for 
three, four, or five nights. The package 
plan price, which begins at $185, 
includes admission to the Magic King- 
dom and Epcot Center and unlimited 
access to adventures and attractions, 
plus coupons for lunches and dinners at 
some of the best restaurants in Walt 
Disney World — such as the Trophy Room 
in the Golf Resort Hotel and Tangaroa 
Terrace in the Polynesian Village. (Not 
every restaurant is included for every 
meal, and the number of coupons 
provided, as well as the number of 
admissions to the Magic Kingdom and 
Epcot Center, varies with the length of 
the specific plan. Don’t worry: you 
won’t be disappointed.) 

Family Getaways, an even thriftier 


More Great 
Magic Kingdom 
6* Epcot Center 
Adventures 


/ 


vacation option, in- 
clude off-property 
| accommodations at 
the Howard Johnson 's 
Florida Center Hotel, 
Y the Quality Inn-HighQ, 

the Sheraton Lakeside 
Inn, and the Holiday Inn 
East. The least expensive of 
these packages costs just $93, 
and that’s actually $4 less than last year. 
Prices include admission to the Magic 
Kingdom and Epcot Center and unlim- 
ited access to all of their attractions and 
adventures; the number of such admis- 
sions varies, depending on whether you 
buy the three-night or the five-night plan. 



A Fort Wilder- 
ness Campground 
vacation has a spe- 
cial relaxed quality 
that’s not so readily 
available at the other resort 
areas inside Walt Disney World. 

This 640-acre canal-crossed expanse of 
cypress and pine, laced by pleasant 
roadways, ranks among the most 
delightful campgrounds in the country, 
comparable in setting and atmosphere 
to many of the most beautiful national 
parks. 

Here, however, there’s an enormous 


variety of facilities and services — a 
snack bar and a cafeteria, a program of 
campfires and lively wilderness 
excursions, a beach and a marina 
where guests can rent those 
zippy little powerboats 
called Water Sprites, and 
much more. If you don’t 
have your own recrea- 
tional vehicle, WDW 
will rent one to you. 
And what a one! You’ll 
have clean sheets, air 
conditioning, good 
beds, your own private 
bath, color TV, and a roof 
over your head, just like in 
the hotels— but you’ll also enjoy 
the pastoral pleasures of the Fort 
Wilderness environment. Each travel 
trailer also has a fully equipped kitchen 
(food and other supplies are available in 
two Disney-operated trading posts near- 
by), so that you can save even more 
money by cooking your own meals. And 
you don’t even have to do all the dishes, 
since daily maid service is included. 

The Magic Kingdom Club’s Camping 
Jamborees include four or six nights in 
one of these comfortable Fleetwood 
Travel Trailers— or your own site for an 
equal period of time if you prefer to bring 
your own RV. The package plan also 
includes admission to the Magic King- 
dom and Epcot Center and unlimited 
access to all their attractions and 
adventures, plus a selection of coupons 
for dining and recreation. The exact 
number of coupons and admission tickets 
included is determined by the length of 
the package plan you buy. 

Prices begin at $167. 



As members of the 
Magic Kingdom Club 
you and your family 
always get the lowest pos-’ 
sible prices at Walt Disney 
World. 

• Magic Kingdom and Epcot Center 
admissions. The general public pays 
$15 for a one-day ticket for Epcot Cen- 
ter or the Magic Kingdom ($14 for 
juniors 12 through 17, and $12 for 
children 3 through 11) — but just by 
showing his or her membership card, a 
Magic Kingdom Club member qualifies 
for special rates of $14, $13, and $11, 
respectively. World Passports include 
admission to both the Magic Kingdom 
and Epcot Center and unlimited access 
to their attractions and adventures and 
to WDW transportation. The general 
public pays $35 ($33 for juniors 
and $28 for children) for a three-day 
Passport. Magic Kingdom Club mem- 
bers pay special rates of $32, $30, and 
$25 respectively. Four-day versions cost 
Magic Kingdom Club members only $41 
($38 for juniors and $32 for children)— 
a $4 savings per Passport over prices to 
the general public. The American 
Express card and MasterCard are 
accepted in payment for multi-day World 
Passports. 

• River Country and Discovery Island 
visits. While the general public pays $7 
for River Country alone ($4.75 for chil- 
dren 3 through 11), Club members pay 


only $6.25 and $4, 
respectively. Also 
available are com- 
bination tickets that 
include both River 
Wm Country and Discovery 
Island. Costing $9.25 
for the general public 
($5.75 for children 3 
" through 11), they’re only 
$8.50 and $5 for Club members. 

• Great golf. Three of Florida’s finest 
courses are located right at Walt Disney 
World, and Club members pay just $23 
per 18 holes (including both greens fees 
and an electric cart)— $6 less than the 
general public. 

• Walt Disney World Village Hotel 
Plaza accommodations. Show your 
Magic Kingdom Club membership card 
when registering at the establishments 
in Walt Disney World Village Hotel 
Plaza— the Americana Dutch Resort 
Hotel, the TraveLodge Tower, the Hotel 
Royal Plaza, Howard Johnson’s Resort 
Hotel, and the new Buena Vista Palace 
—and you’re entitled to a 10 percent 
reduction on posted room rates when 
not using a vacation plan. Note: Reser- 
vations must be made directly through 
the hotel or the Magic Kingdom Club 
Travel Center, not through a travel 
agent. 



Kingdom Club members don’t even 
have to buy a package plan to get 
special rates on Disneyland Passports. 
These newly introduced, unlimited-use 
tickets, which include one day’s admis- 
sion to the park and all the adventures 
and attractions you’ve got the energy to 
enjoy, cost Magic Kingdom Club mem- 
bers $11 ($9.50 for juniors 12 through 
17, $8 for children 3 through 11). The 
general public pays $12 ($10.50 for 
juniors 12 through 17, $9 for children 
3 through 11). 



When the new Fantasy land opens at 
Disneyland this coming June, 
you’ll hear so much about 
the glittering special 
effects and the breath 
taking scenery inside 
some of the re- 
vamped attractions 
that the Magic 
Kingdom Club’s 
Disneyland vaca- 
tion plans for 1983 
are going to sound 
more tempting than 
ever before. But if 
you can’t resist a sneak 
preview, be sure to take 
advantage of one of the fol 
lowing quartet of terrific dollar- 
wise Magic Kingdom Club package 
plans: 

• Five-night Fantasy Vacations, 
starting at $143 

• Four-night Disneyland Adven- 
tures, from $115 

• Three-night Park Holidays, from 
$87 

• Two-night Family Getaways, from 
$59 

Prices for each plan vary depending 
on the hotel, but in all cases Club 
members pay less than if they purchased 
the same plan through a travel agent. 
And the hotels from which you may 
choose are among the best in Anaheim 
—the bustling, glamorous Disneyland 
Hotel; the Howard Johnson’s Motor 


Prize Packages 
For Disneyland 
Visitors 


Lodge, which even has TVs in some of 
the bathrooms; the lovely Hyatt 
Anaheim; the big Grand Hotel; the 
classy Anaheim Marriot Hotel and the 
adjacent Quality Inn; the Western- 
themed Conestoga Inn; and the friendly 
and attractive Jolly Roger Inn. All are 
within a few minutes of the park. 

Each package plan includes, in addi- 
tion to lodging, two days’ admission to 
Disneyland and unlimited access to all 
of its adventures and attractions 
(except the Shooting Galler- 
ies), transportation be- 
tween your hotel and 
Disneyland, and an 
appealing selection 
of meals and recrea- 
I tional activities. 


Great Values 
On Cruises 6* 
Rental Cars 


an 


Club members pay 
the least for a rental 
car when it’s part of 
all-inclusive package plan. 

But there are times when 
you may want just a car— and 
that’s when you can really use the 
discounts that National Car Rental, the 
Magic Kingdom Club’s official car-rental 
company, offers to Club members: 10 
percent on all published rates through- 
out the United States (40 percent 
at the National locations offering only 
time and mileage rates). Similar dis- 


counts are available worldwide. For 
reservations, call toll-free 800-328-4567 
(800-862-6064 in Minnesota). 

Another 10 percent reduc- 
tion is available on double- 
room rates at over 400 
participating Howard 
Johnson’s Motor 
Lodges nationwide, 
a dozen of them in 
the Orlando area 
alone. Reserve in 
advance through 
the Howard Johnson’s 
toll-free reservations 
office at 800-654-2000. 
Magic Kingdom Club 
members are also entitled 
to reduced rates year round 
on three-, four-, and seven-day 
Caribbean cruises on Norwegian Carib- 
bean Lines. 

Scandinavian World Cruises also offer 
Club members a 10 percent discount on 
their exciting cruise adventures. 


A Family 
Channel 

Quality TV entertainment fit for the 
entire family has long been a vague, 
unfulfilled dream. But now the Disney 
Channel, a joint venture of Walt Disney 
Productions and Westinghouse Broad- 
casting (Group W), promises to make 
the dream a reality. Scheduled to debut 
in the first quarter of 1983, the channel 
will offer a 16-hour-a-day pay cable ser- 
vice dedicated to programming for 
children and the entire family. Group W 
and Disney have initially committed 
$100 million to program development 
for the project. 

Perhaps no other two companies could 
be better suited to such an ambitious 
undertaking. Ever since Westinghouse 
pioneered the first commercial radio 
station, KDKA (Pittsburgh), in 1920, 
Group W has been at the forefront of 
innovative programming. It was a 
Group W station that first put a live 
concert on the air (WBZ in Boston), first 
carried a World Series game (WJZ in 
Newark), and that gave the public its 
first televised national political conven- 
tion. And over 30 years ago WBZ-TV 
broadcast the nation’s first live, regularly 
scheduled children’s show. 

Disney, too, has a reputation for firsts, 
going back to 1928 when it introduced 
the first talking sound cartoon (“Steam- 
boat Willie”). This led to the first color 
cartoon (“Flowers and Trees”); the use 
of the multiplane camera, which gave 
depth and dimension to animation; the 
first full-length animated feature (Snow 
White and the Seven Dwarfs)', the first 
use of stereo sound (Fantasia)-, and the 
first mixing of live action and animation 
(The Reluctant Dragon). The company 
was also the first major motion-picture 
company to see the potential of tele- 
vision, and it helped bring color to the 
new medium in 1954. 

“Our entry into pay cable television,” 
says Card Walker, chairman of Walt 
Disney Productions, “is the most signifi- 
cant new opportunity for our company 
since we opened Disneyland and Walt 
Disney World. We plan an unprecedented 
effort in original programming designed 
for the American family — a startling 
departure from what is currently avail- 
able in the home. To that end, our 
existing library, probably the largest 
single resource of family films in the 
world, will give us a strong base to build 
upon, and we will supplement that base 
by searching the world . . .for quality pro- 
gramming that is appropriate for our 
channel.” 

In addition to using the program pro- 
duction capabilities of Walt Disney Pro- 
ductions, Disney and Group W will seek 
out other appropriate programming proj- 
ects from independent production 
companies to fulfill their commitment 
to bringing original and innovative 

28 DISNEY NEWS FALL 1982 



DISNEY 

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family entertainment into the homes of 
subscribers. 

Throughout the 16-hour program day, 
shows will be directed to a range of 
viewers, from preschoolers in the early 
morning hours to children-at-heart later 
in the evening. Many of the old favorite 
Disney characters will be on hand to 
lead the way— Donald Duck and Jiminy 
Cricket will present entertaining, 
informative “lessons” on subjects 
ranging from the beauty of mathematics 
to practical safety advice. But there’ll 
also be new faces, such as a wizard 
named Dreamfinder, who will personify 
the spirit of imagination and creativity, 
and his sidekick, Figment, a miniature 
dragon (both are characters from Epcot 
Center’s Journey Into Imagination). 

According to Jim Jimirro, president of 
Walt Disney Telecommunications, 
“There will, of course, be a large 
children’s component in what we are 
doing, but we’re not going to stop there. 
Our goal is to have the Disney Channel 
represent a force in the family that 
becomes important to its members not 
only because the channel presents 
pleasurable programs but because these 
programs can make a difference in 
people’s lives. 

“The most logical starting point will 
be Epcot Center pavilion-inspired ideas. 
But the programming will go far beyond 
the specifics of each pavilion— be it 
energy, transportation, or imagination— 
to the real underlying values of Epcot, 
such as the need for effective communi- 
cation and the necessity for people to 
work together to achieve their goals.” 

Mr. Jimirro says that the use of the 
Disney name and reputation offers a real 
chance to change people’s attitudes 
toward television. “We believe that 
people will feel different about the 
Disney Channel than they’ve ever felt 
about a television service before. The 
Disney Channel can offer cable subscri- 
bers a unique programming alternative.” 

The president of the Disney Channel 
is Alan Wagner, who began in the 
entertainment field as a stand-up comic 
on The Ed Sullivan Show in 1956, after 
which he moved behind the camera. For 
the past 21 years he has been a top pro- 
gram executive at CBS. His credits 
include The Defenders, M*A*S*H, and 
The Mary Tyler Moore Show. In his new 
position, Mr. Wagner will manage a staff 
of programmers who will create original 
shows, and he will set the precise mix 
and schedule of entertainment. 

No doubt Walt Disney had a good 
inkling of television’s future when in 
1957 he said, “It is a curious thing that 
the more the world shrinks because of 
electronic communications, the more 
limitless becomes the power of the 
story teller/ entertainer.” There’s also no 
doubt that the same Disney magic that’s 
been entertaining families for almost six 
decades will continue to engage its 
viewers on the new Disney Channel. □ 


DISNEY NEWS FALL 1982 29 



The best spots for the best shots at 
Disneyland and Walt Disney World 



ground; anywhere in front of the castle; 
on Main Street, the Milk Cart in Town 
Square; in Adventureland, Fuente de la 
Fortuna— the fountain opposite Pirates 
of the Caribbean — next to the stage 
where the steel-drum band plays, and in 
front of the Singing Drums opposite the 
Enchanted Tiki Birds pavilion; the 
stocks in Liberty Square; the Barrel 
Bridge on Tom Sawyer Island; in the 
Castle Forecourt or in front of City Hall 
when the Disney characters make their 
daily appearances; and outside the 
Magic Kingdom, near the topiaries on 
the main entrance road. 

PICTURE PERFECT 

Shutterbugs will find that some of the 
best spots for taking pictures at Disney- 
land are: on Main Street, from Town 
Square looking toward Sleeping Beauty 
Castle, and from the Plaza toward the 
castle for a closeup; in Adventureland, 
atop the Swiss Family Treehouse; in 
New Orleans Square, in front of Cafe 
Orleans and the Haunted Mansion; in 
Bear Country, at the Country Bear Jam- 
boree; in Fantasyland, in front of It’s 
a Small World and the Matterhorn; in 
Tomorrowland, from Fantasyland Auto- 
pia toward the Matterhorn, and by the 
Rocket Jets with Space Mountain in 
the background; and in Frontierland, the 
Mark Twain Steamboat (from the 
Columbia and Mark Twain Landing) 
and the Tom Sawyer Island Raft (from 
the Raft and Keel Boat Landing). 

This doesn’t mean you won’t find 
many other special photo locations of 
your own choosing. You’ll turn up 
charming nooks and crannies every- 
where-scouting them is a big part of 
the fun— and you’ll be surprised how 
well suited they are to taking pictures— 
even beginners will take photographs 


By Catherine Ettlinger 

One picture is worth more than 
10,000 words ... so goes the proverb, and 
as you wander around Walt Disney 
World and Disneyland you’ll understand 
exactly what the wise old Chinese 
master meant: words alone just can’t 
begin to capture all there is to do and 
see at these two most popular, man- 
made attractions. A picture can 

At Walt Disney World more than 150 
million photos are snapped every year. 
And no wonder— the Magic Kingdom 
was designed with visiting photo- 
graphers in mind. Before any ground 
was broken, a scale model of the area 
was built. To make sure it was perfect 
right down to the last detail, designers 
used a small periscopelike device with a 
rectangular viewing screen— much like 
your camera’s— to view the scene. That’s 
why certain locations automatically 
inspire you to reach for your camera: 
the bridge beside the Crystal Palace, 
with Cinderella Castle in the back- 


Catherine Ettlinger is a freelance writer 
living in New York City. 


that look like a professional’s. Just about 
any camera in good working order will 
do the job, as long as you use the right 
techniques. 

HELPFUL HINTS 

First, always check that your camera’s 
batteries and battery contacts are alive. 
(If you suspect any damage or defect, 
take your camera to the Camera Center 
in either Walt Disney World or Disney- 
land; the centers are equipped to handle 
minor repairs.) And be sure to clean 
your camera before using it. Blow dust 
off the lens and wipe it with a soft tissue. 
Blow out the inside of the camera, too, 
before you load it. 

Make certain the film you’re using is 
fresh: when you buy it, note the expira- 
tion date stamped on the box. You can 
buy film in Walt Disney World on Main 
Street at the Polaroid Camera Center and 
the Emporium; in Adventureland, at 
Tropic Toppers; in Frontierland, at the 
Frontier Trading Post; in Liberty 
Square, at Heritage House; in Fantasy- 
land, at Castle Camera and the Royal 
Candy Shoppe; in Epcot Center, at the 
large Camera Center on the west side 
of the Main Entrance Plaza and at vari- 
ous locations throughout World Show- 
case. At Disneyland, there’s at least one 
souvenir shop selling film in every land. 
(Most hotels sell film, too.) If you want 
to have your film processed, Kodak film 
mailers are available at the camera 
shops in both parks. 

When you take a picture, hold the 
camera steady and squeeze the shutter 
gently. As you focus, take care to fill the 



Main Street Electrical Parade 


frame with as much of the subject as 
possible, especially when you’re photo- 
graphing people. You’ll want to shoot 
from 4 to 12 feet away: a photo taken 
closer than 4 feet will probably turn out 
fuzzy, and farther than 12 may be dark, 


even if you use a flash attachment. 
(Flashes can’t illuminate a subject more 
than a dozen feet away. Also, note that 
flash photography is prohibited inside 
attractions in both parks.) 

However far away you are, position 
yourself so the available light falls 
directly on your subject, either coming 
from behind you or from one side. One 
important rule of thumb: Never shoot 
directly into the sun. The camera’s 
electric eye assumes there’s more light 
on the subject than there actually is, so 
shooting into the sun will probably make 
your picture turn out too dark. 

PHOTOGRAPHING 
THE LIGHT FANTASTIC 

If you’re going to photograph fire- 
works, you’ll need a camera with a 
manually adjustable aperture and 
shutter speed. After fastening the 
camera to a tripod (or bracing it in some 
other way), set the aperture at f/8 and 
the shutter speed at B. Hold the lens 
open for three to five seconds at each 
burst, and cover it with your hand 
between explosions. 

To photograph the Main Street 
Electrical Parade, you'll need an adjust- 
able camera with a normal or a wide- 
angle lens. Open the aperture as wide 
as possible to f/1.4 or f/2.8, and shoot 
at around one fifteenth or one thirtieth 
of a second. Use fast films such as 
Kodacolor 400 (for prints), Ektachrome 
160 Tungsten, or Ektachrome 400 
Daylight (faster, though it causes colors 
to yellow slightly). To get an artistic blur, 
slowly pan with the camera as a float 
moves past you. No tripod is necessary, 
though a steady hand ensures best 
results. 

When taking movies or using a 
videotape camera, pan very slowly and 
smoothly, and give every scene its proper 
share of time— at least five seconds. A 
zoom lens, used too often, can be 
distracting. Again, don’t shoot into the 
sun, and make sure that your subject is 
evenly lighted. Try to pick a theme, such 
as “A Walk Down Main Street,” for the 
most interesting movies. 

If you don’t have your own camera, 
you can borrow one at no charge at the 
Polaroid Camera Center. All it takes is a 
$50 fully refundable deposit (cash, 
check, or credit card). You’ll get an all- 
automatic Polaroid Sun 640 or a Sonar 
One-Step. Or, for a $100 refundable 
deposit, you can get a Polaroid Pola- 
vision instant movie camera at Walt 
Disney World. A Kodak Super 8 movie 
camera for a $2 rental fee, plus a $50 
refundable deposit, is available at 
Disneyland. 

A variety of other cameras is also 
available. At Disneyland you can rent a 
Kodak Instamatic 126 for $2, plus a 


$20 deposit. At Walt Disney World, there 
are Vivitar 110s, Kodak 110 Pocket 
Instamatics, Kodak 126 Instamatics, and 
Kodak 110s with built-in flash. Deposits 
of up to $25 or so are required, plus a 
modest rental fee (about $5), which in- 
cludes the price of a 20-exposure roll 
of film. At both parks there’s also a 
selection of cameras you can buy. 



Mark Twain Steamboat 


There are limitations to what any 
camera — or photographer — can do. 
Neither can capture all the excitement 
of a trip to Walt Disney World or 
Disneyland . . .the sight of your favorite 
Disney character coming to life, the thrill 
of the rides, or the beat of the parade 
drums. But once you get home, your 
photographs can make it all come alive 
again. They’re the next best thing to 
being there! □ 



By Lori Philipson 


TV 


1. Which famous Disney character created in 1934 made his debut in “The Wise Little Hen”? 

2. The movie The Jazz Singer holds a very special place in the history of motion pictures. What 
Disney cartoon holds the comparable position in the history of animation? 

3. Mickey and Minnie are Disney’s most famous mice, but there are certainly many more. In what 
film did the helpful mice Jacques and Gus appear? 

4. Disney’s first hit song was sung in the 1932 cartoon that became the most popular animated short 
subject of all time. What was the cartoon, and what was the song? 

5. Several Disney animated features had hit songs, too. Name the most popular song from each of 
these films: 

Snow White 

Cinderella 

Pinocchio 

Alice in Wonderland 

6. Who was Adriana Caselotti? 

7. From the following list, choose the one composition that is not in the soundtrack of Fantasia: The 
Rite of Spring, Pastoral Symphony, Nutcracker Suite, Clair de Lune. 

8. Disney’s first surrealistic sequence was “Pink Elephants on Parade,” depicting a character’s 
drunken vision. What film was it in? 

9. For which of his characters did Walt Disney originally speak? 

10. The first movie that the young Walt Disney saw, on a newsboy’s outing in Kansas City, told the 
same story as his first animated feature. What was Walt Disney’s first animated feature? 

11. What kind of animal was Flower? 

12. In the film Pinocchio, where are Pinocchio and Geppetto reunited? 

13. The plot of 1 01 Dalmatians centers around the villainess’s desire for a dog fur coat. Who is this 
sophisticated villainess? 

14. The creator of the comic strip “Pogo” worked in the Disney studios for several years. Name him. 

15. Mickey Mouse made his debut in 1928. When did Minnie join him? 

16. What well-known actor/singer narrated the tale of “The Legend of Sleepy Hollow” in the Disney 
feature Ichabod and Mr. Toad?. 

17. In the last Mickey Mouse cartoon to be made in black and white, Mickey, Donald, and Goofy rip 
apart a car while attempting to fix it. To what perennial enemy of Mickey did the car belong, and 
what is the name of the cartoon? 

18. In which animated Disney feature do the characters watch cuts from old Disney cartoons on TV? 

19. Who was the voice of the Duchess in The Aristocats ? 

20. Name the Seven Dwarfs. 


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32 DISNEY NEWS FALL 1982 




^KkoMA*! 


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Kikkoman Teriyaki. Original and Authentic. 




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